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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 141 to 142 of 142 (0.068 seconds)Spelling suggestions: "subject:"surrealismo"" "subject:"surrealism""
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[pt] O CINEMA MAL-DITO DE PETER TSCHERKASSKY: HANTOLOGIA E A FORMA INFORME / [en] PETER TSCHERKASSKY S CURSED CINEMA: HAUNTOLOGY AND FORMLESSBARBARA BERGAMASCHI NOVAES 03 October 2022 (has links)
[pt] Na nova cena da poética da obsolescência, dentro do campo específico do
cinema do found footage de vanguarda contemporânea, um cineasta célebre e
laureado nos festivais de cinema tem se colocado frontalmente na trincheira em
prol do analógico: Peter Tscherkassky (1958-). Esta tese é escrita no
entroncamento fulcral entrea sua biografia, a historiografia e teoria do cinema e
as análises fílmicas críticas ad hoc de sua filmografia. A metodologia da tese
reflete o pensamento excessivo anti-axiomático de Georges Bataille assim como a
ideia da constelação intempestiva de Walter Benjamin. Desse modo criamos uma
série de afinidades eletivas que compõe uma rede de autores basilares para a tese,
sendo eles: Georges Didi-Huberman, Mark Fisher, Rosalind Krauss, Jacques
Derrida, Thomas Elsaesser, Roland Barthes, entre outros. Tscherkassky opera uma
transgressão da semelhança conforme das imagens, fazendo vir à tona a parte
maldita da historiografia cinematográfica. No lugar de uma ontologia indexical
clássica, ele nos faz adentrar no campo da hantologia, na condição estrutural do
cinema enquanto espectros. Seu trabalho é uma tentativa genealógica de reencantamento com as imagens do cinema hoje apaziguado pelo controle da
teleologia narrativa do cinema comercial e da dominância do regime
representativo. / [en] At the intersection between the museum and the movie theater, a number
of contemporary artists have been investigating the corporeality of analog images.
In this new scene of the poetics of obsolescence, within the specific field of
contemporary found footage avant-garde cinema, our object of study, the Austrian
Peter Tscherkassky (1958-) occupies a prominent place. The thesis is written at
the central injunction of three lines: i - The biography and critical fortune of the
director; ii- the dialogue with a classical historiography and film theory; and iiithe ad hoc critical film analysis of his filmography. In an inflection with Georges
Bataille s excessive anti-axiomatic and formless thought and, as well, into Walter
Benjamin s idea of constellation, we seek to create a series of elective affinities
that compose a network of authors that are fundamental to the thesis, namely:
George Didi -Huberman, Mark Fisher, Rosalind Krauss, Jacques Derrida, Thomas
Elseasser, Roland Barthes, among others.
From a genealogical and extemporaneous re-elaboration of the filmic ruin,
he operates a transgression of the mimesis and the conform similarity of the
images, bringing to light the cursed part of cinematographic historiography.
Instead of a classic indexical ontology, Tscherakassky takes us into the field of
hauntology, in other words, the structural condition of cinema as specters.His
work would be a genealogical attempt of re-enchantment with images of cinema
that are today appeased by the control of narrative teleology and the
representative regime. We conclude that the filmmaker s extemporaneous and
anachronistic cinema are strong responses and symptoms of problematics of the
contemporary cinema scene.
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| 142 |
La imagen literaria de París. Desde Mercier, Baudelaire y el surrealismo hasta Rayuela de Julio CortázarHoyos, Camilo 23 March 2010 (has links)
El propósito de nuestra investigación es analizar la imagen del París surrealista para luego ver su posterior recepción y variación por parte de Julio Cortázar en Rayuela. Los criterios analíticos de nuestra investigación constan en la importancia de la promenade y la visión en la construcción de la imagen de la ciudad a manera de espacio interior. Para comprender los orígenes e inserción en la tradición por parte de los surrealistas, fue necesario establecer los orígenes de las poéticas urbanas de la ciudad de París a finales del siglo XVIII, comprender el auge de París como tema literario a mediados del siglo XIX, analizar la importancia de la tradición noctámbula y la incidencia de Baudelaire en el París moderno para situar a los surrealistas en su manera de comprender la ciudad como un espacio psíquico e interior. Por último, comprenderemos los distintos elementos surrealistas de la construcción de París en Rayuela de Cortázar gracias a los textos escritos durante su período de interés surrealista (1947-1949) y su posterior variación en Rayuela. / The purpose of our investigation is to analyze the image of Paris forged in four Surrealist texts published between 1926-1928 in order to understand the Surrealist elements that allowed Julio Cortázar to forge his own image of the city in the novel Rayuela. Our analytical criteria are the importance of the regard and the promenade in the construction of the city as an interior and personal space. To understand the importance of the Surrealist production, it was necessary to visit the origins of Paris as a literary text in the late eitheenth century, the importance of the tradition noctámbule in the XIXth century, the incidences of Baudelaire's work regarding the modern Paris and the change of century that allowed the Surrealist movement to understand the city as an interior and psychic space. Through the establishment of certain criteria and images, we analyzed Paris in Cortázar's novel Rayuela as a Surrealist product, even if Cortázar himself never felt as as a Surrealist writer.
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